Reviewer John J. Hohn:
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publishing. Raised in Yankton, SD, he graduated with a degree in
English from St. John’s University (MN) in 1961. He is the father
of four sons and a daughter and a stepfather to a son. He and his
wife divide their time each year between Southport and West
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By John J. Hohn

Published on November 25, 2013

Author: Charles Tranberg

Publisher: BearManor Media

ISBN: 10: 1-59393-745-8

Author: Charles Tranberg

Publisher: BearManor Media

ISBN: 10: 1-59393-745-8

Charles Tranberg’s
biography, Fredric March: A Consummate Actor, belongs in the library
of every fan of theater and film in America. Tranberg’s masterful
work follows March’s career from his Wisconsin boyhood through to
his final triumphant appearance as Harry Hope in The Iceman Cometh
released by 20th Century Fox in October, 1973. March was a man of the
era and grouped among the many stars who, according to the author, “.
. . excelled on both stage and screen.”

March, born Frederick
McIntyre Bickle on August 31, 1897, showed an early interest in the
stage. Graduating from the University of Wisconsin and a short stint
in the military, March moved to New York in 1920 to take a job in
banking. Fate interrupted his corporate training in the form of an
attack of acute appendicitis. During his convalescence, March
realized he wanted above all else to be an actor.

Tranberg’s book is
exquisitely researched. The author reproduces the text of letters,
reviews, newspaper articles and the memoirs of peers and the author
to track the March’s life from starting on stage to becoming a
dominate presence in films.

Tranberg is careful to let
March’s peers fill in the picture of the actor. The book reads like
who’s-who of the era with quotes from the best and brightest of the
artist of the time.

March breaks into movies
as silent films give way to “talkies,” where his stage training
serves him well. For all of his casualness in front of the camera,
Tranberg cites repeatedly how diligently March researched his roles,
studied his parts, and paid passionate attention to the slightest
details. The actor knew his own weaknesses and admonished his
directors to keep him from “hamming it up.” As a result, his
performances were consistently praised as polished, subtle,
suggestive, and restrained.

Tranberg is an
accomplished writer. Fredric March: A Consummate Actor picks up
momentum as the central character’s career expands and the roles
become more demanding. Readers may want to watch March’s movies
again given the details the book provides about the actor’s
preparation, direction and execution.

March’s big break comes
when he appears in the 1932 release of Dr. Jekyll and Mr. Hyde. The
film is a box office success. Tranberg pays attention to the
technical challenges in making the film, not the least of which is
the on-screen terrifying transformation of Jekyll into Hyde.

The transition from a
refined, charitable doctor into a craven rapist-murderer is a curious
clue to a side of March’s own personality that is mentioned again
and again in the book by those knew the actor well. March, it turns
out, was a groper and a womanizer, yet when his wife Florence was
around he was a different man, as the author quotes Elia Kazan,
“’Freddie was a child who couldn’t keep his fingers out of the
cookie jar.’ When Florence did come over for a visit, March, as
usual, became ‘another person.’” His wife tolerated his
behavior, although it must have mystified some that a man capable of
exquisite sensitivity on stage could be so disrespectful and invasive
of the dignity of the women with whom he worked. With Florence,
however, he was very protective, often lobbying to get her parts and
promoting favorable reactions to her performances.

Telling of the decades
during which March worked are the contentious issues of censorship
and blacklisting. During this dismal chapter in the industry, March
is labeled a communist by irresponsible journalists, an allegation he
forcefully denies. March and his wife are citizens of the world and
thoughtful in articulating their liberal views.

In addition to The Ice Man
Cometh, March’s performances include many classics such as The Best
Years of Our Lives, Seven Days in May, and Inherit the Wind. Tranberg
rightfully spells out March’s successes on stage also. It is
regrettable that all that is left of his performances are the rave
reviews.

Tranberg writes in a
conversational style that is easy to read. The attention to detail
the author demonstrates in his research, however, does not spill over
in a limited number of incidences to his copy editor. The cast list
for the 1935 release of Les Miserables, for example, has Charles
Laughton as Valjean, whereas Laughton played Javert. At another
point, describing March’s USO travels, the copy readers “. . . a
special command performance for the Shah—with whom March also
played tennis with . . .” A few other typographical errors appear
in the quoted passages.

These minor blemishes,
however, do not detract from the depth of the author’s
presentation. Aptly titled, Fredric March: A Consummate Actor is a
beautifully crafted history of a legendary actor and of the
entertainment industry during his lifetime.